Edgar Winter

White Trash
Roadwork
They Only Come Out At Night


White Trash (Sony ‘71) Rating: A
Edgar Winter is best remembered for "Free Ride" and "Frankenstein" and for being Johnny Winter's younger brother, but what he should be best remembered for is White Trash, his excellent 9-piece band who released this overlooked gem in 1971. This lineup didn't last long (perhaps Edgar couldn't afford to keep paying 8 other people), but boy were they something else, at times recalling Sly Stone, Steview Wonder, Stax, Chicago, brother Johnny, and especially Joe Cocker/Ray Charles, all while ultimately standing up all on their own. "Give It Everything You Got" starts this filler-free platter with an obvious Sly homage, and I just love the overall energy and the recklessness of the vocals; the dueling saxes (one of several instruments Edgar plays) merely clinches it. "Fly Away" most closely resembles the gospel soul of Cocker, especially on its soaring chorus (pardon the pun), while again the energy and high horn quotient are the most memorable characteristics of the catchy "Where Would I Be." An obvious highlight, "Let's Get It On" is a percussive powerhouse with a fiery guitar solo and catchy gospel soul pop vocals, while "I've Got News for You" is a straight up blues only with an exaggerated emphasis on the horns, as per usual. The star on this song and soulful ballads such as "Dying to Live" (a powerful anti-Vietnam statement which recalls Wonder) and "You Were My Light" is powerhouse singer Jerry Lacroix, an underrated soul vocalist if ever there was one (pity that guys like him and Bobby Whitlock never really found suitable partners after their shining moments) and this ensemble's not-so-secret weapon (he also co-wrote several songs with Winter). Anyway, the album's best known song is probably the ecologically aware toe tapper "Save the Planet" (again featuring gospel backing vocals), but only the generic boogie rocker "Keep Playin' That Rock & Roll" is less than very good, and even that one is catchy and fun (it was the album's only near-hit, peaking at number 70), while "Good Morning Music" ends the album with a low-key yet funky love letter to music. Clearly this group loved playing these songs together, and above all else this album is all but bursting with an infectious energy and enthusiasm that's easily contagious. The band's chemistry was obviously a major asset (despite Rick Derringer - who plays guitar on "Keep Playin' That Rock & Roll" and "Good Morning Music" - coming and going), and the songs on the whole are very well written. Perhaps some of them are obviously from 1971, and most of the songs are very good without quite rising to greatness, but I'd easily rate Edgar Winter's White Trash as a minor classic and suggest that any fan of any of the artists mentioned above check it out ASAP. Note: After doing some post-review research (sorry, too lazy to rewrite), please note that Edgar, an excellent (if occasionally overly frantic) singer in his own right, sings lead on "Dying to Live," as well as "Keep Playin' That Rock & Roll," "You Were My Light," and "Good Morning Music."

Roadwork (Sony ‘72) Rating: A-
This live album, the last White Trash album, is top notch as well and contains no overlap with White Trash aside from "Save The Planet," which is longer, looser, and wilder (the screams at the end simply must be mentioned) than its studio counterpart. Elsewhere, much of the album is comprised of covers and features even more sharing of vocals, with Rick Derringer singing Chuck Berry's "Back In The U.S.A." and his own "Still Alive And Well" (later recorded by Johnny Winter), where his guitar work also steps to the fore. Although the unhinged vocals and incendiary sax/horn interplay that highlighted White Trash is still in evidence, this is a more guitar oriented rock record, with many a cool moment even beyond Lacroix's spot-on Otis Redding impersonation ("I Can't Turn You Loose"). For example, "Rock & Roll Hoochie Koo" is introduced by Edgar saying "people keep asking me, where's your brother?"; the crowd goes nuts, and with that Johnny appears on stage for the first time in nearly a year and sings a sizzling version of the song. Also, tracks 8-10 ("Cool Fool," "Do Yourself a Favour," and "Turn On Your Love Light") were recorded at the Apollo Theater in front of a black audience, and you can hear their SHOCK when Edgar and company come onstage - the whitest of white boys. Of course, appearances can be deceiving, and the crowd is soon won over by their funky rhythms and paint peeling screeches. Earlier, Edgar's scream on a bluesy 17+ minute "Tobacco Road" is 23 seconds long (do not attempt at home), and though the song has too much down time and the scat singing was a bad idea, some strong solo sections and a frenetic finish make it an indulgence that's well worth enduring. Elsewhere, "Jive, Jive, Jive" is fairly generic boogie rock, but again some stellar sax work (and Lacroix's always stellar vocals) makes it more than just that, and White Trash's singular strengths are again on ample display throughout. The album isn't as easily loveable as its predecessor, where neophytes should start, but it makes for an excellent companion piece, as this short-lived band's high energy music was tailor made for a live setting. Note: White Trash drummer Bobby Ramirez was killed in a bar fight in Chicago in July of 1972.

They Only Come Out At Night (Sony ‘72) Rating: B+
Edgar broke up White Trash in early '72 and got Ronnie Montrose from Van Morrison's group (Montrose left in the spring of '73 to be replaced by, who else? Rick Derringer, who also produced and plays a jack of all trades type of role on this album). It's too bad that White Trash was such a short-lived concept, as once Jerry Lacroix left (or was fired - he went on to replace David Clayton-Thomas in Blood, Sweat and Tears in '72 and recorded solo albums in relative obscurity thereafter) Edgar decided to follow a more straightforward rock approach. White Trash was special, and the newly minted The Edgar Winter Group was merely very good, lacking the distinctive characteristics that made White Trash stand out. Perhaps impresario Steve Paul (who managed Edgar, Johnny, and Derringer) was partially to blame for the new direction, which was a major departure as the band obviously attempted to score a hit, but that doesn’t really matter at this point. Besides, they got their monster hit with “Frankenstein,” a flashy hard rock instrumental with prog-like tendencies. “Frankenstein” was actually the b-side of the lazy, fairly faceless boogie rocker “Hangin’ Around,” which stiffed. But its b-side took off, becoming the band’s lone #1 hit, while the also-great “Free Ride” hit #14 and remains a much played radio track. The lead singer on this track and “We All Had A Real Good Time,” “Hangin’ Around,” and “Alta Mira” is Dan Hartman, who has a smoother, more pop friendly (but far more anonymous) voice than Lacroix, while Edgar shows off his versatile pipes on several songs as well. For example, the rock solid “When It Comes” sees Edgar in his gruff voiced blues belter guise, and the excellent “Undercover Man” is a gleeful Edgar-sung romp, but “Round & Round” is a (surprisingly good) melodic, singable soft rock vehicle on which you’d never know it was the same singer (“Autumn,” a very mellow yet pretty ballad, also sees Edgar in sensitive singer-songwriter mode). Elsewhere, the generic boogie rock of “Rock ‘n’ Roll Boogie Woogie Blues” and “We All Had A Real Good Time” could be anybody, but Hartman also has his moments, particularly on “Alta Mira,” which has a summery Caribbean flavor (note: despite this album’s summer feel - song titles notwithstanding - it was released in November '72, though it was still on the charts in the summer of '73). Still, this album is mostly remembered for its two big hit singles, which are the best songs here; Edgar has recorded only sporadically since, and it is his 1971-’72 peak on which his reputation primarily rests.

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